Adriana Chiesa Enterprises has taken world sales on high-profile doc “Caterina Caselli: One Life, 100 Voices,” about the former Italian pop singer, base player and actress who is now president of Andrea Bocelli’s record label, Sugar Music.
The veteran Italian sales agent is lauching sales on the doc at the online EFM.
Directed by Renato De Maria, who is known for films such as “Love Me” and “The First Line,” which went to Toronto – and more recently Netflix Italy original “The Ruthless” – the doc delves into Caselli’s career which kicked off with the 1966 Sanremo song fest where she performed proto feminist song “Nessuno mi può giudicare,” (which translates as “Nobody Can Judge Me”). It went gold, selling over one million copies.
Caselli also subsequently scored several hits, one of which with an Italian cover of the David McWilliams song “Days of Pearly Spencer” titled”Il volto della vita” in Italian.
The veteran Italian sales agent is lauching sales on the doc at the online EFM.
Directed by Renato De Maria, who is known for films such as “Love Me” and “The First Line,” which went to Toronto – and more recently Netflix Italy original “The Ruthless” – the doc delves into Caselli’s career which kicked off with the 1966 Sanremo song fest where she performed proto feminist song “Nessuno mi può giudicare,” (which translates as “Nobody Can Judge Me”). It went gold, selling over one million copies.
Caselli also subsequently scored several hits, one of which with an Italian cover of the David McWilliams song “Days of Pearly Spencer” titled”Il volto della vita” in Italian.
- 2/16/2022
- by Nick Vivarelli
- Variety Film + TV
A leading Italian composer is to stage an opera based on the life and death of British royal DIANA, PRINCESS OF WALES. The two-act opera, called LADY EMMA, recently won an opera competition in Prague and will open in the Czech capital next year. Composer Bruno Moretti and librettist Pasquale Plastino admit that their "modern opera" is a barely fictionalised version of "the Charles and Di story." In the opera, LADY Diana Spencer becomes LADY EMMA CAMPBELL, the Prince of Wales is called PRINCE EDWARD and Dodi Fayed is PRINCE ALI. The villains of the piece are the paparazzi, who threaten Emma's happiness throughout and end up "provoking the final catastrophe." Moretti says, "The heart of the mystery is why Edward never really loves Emma, even though all other men fall at her feet." The opera ends with the fading image of Emma waltzing with her Arab lover to the screech of tyres and the paparazzi's flashbulbs.
- 4/26/2000
- WENN
It's not immediately apparent why the Weinstein Brothers dug into their admittedly deep pockets to pick up this mild Italian import about the relationship between a middle-aged musician and his young, beautiful singing protege, unless it was to showcase the stunning physical beauty of Claudia Gerini. As the title character, Gerini smolders through the proceedings with casual sexuality that gives the film whatever spark it has.
The director, co-screenwriter and star of "Iris Blond" -- the title onscreen reads "I'm Crazy About Iris Blond" -- is comic actor Carlo Verdone, but suffice it to say he won't match Roberto Benigni in Stateside appeal.
The film, opening exclusively today at New York's Angelika Cinema, is a combination comedy-drama-romance, centering around not-too-aptly named Romeo Spera (Verdone), a former star turned lounge singer reduced to playing piano on cruise ships. A fortune teller informs him that his life will be changed by a foreign woman who speaks in verse, and Romeo believes the prophecy has been fulfilled when he teams with Marguerite (Andrea Ferreol), a middle-aged Belgian singer who specializes in the works of Jacques Brel. After moving with her to Brussels, he joins her in a musical act, but the professional and romantic partnership go nowhere fast.
Then Romeo meets comely Iris (Gerini), a feisty worker at the local fast-food restaurant. Discovering that she sings in a choir and writes verse in her spare time, the smitten Romeo proposes a musical partnership. She agrees, and Romeo soon moves in with her; unfortunately for him, Iris -- otherwise quite generous in her sexual deportment -- insists that the relationship remain platonic.
It isn't long before the duo, Iris Blond and the Freezer, begins to achieve success in local clubs with their brand of overblown pop music. (Strangely, Iris, immediately after hitting it big, dyes her hair auburn.) Romeo is by now hopelessly in love with his musical partner, and his feelings -- not to mention their growing professional division -- soon create trouble for their relationship.
Although not without its moments, "Iris Blond" seems hopelessly divided as to what it wants to be, shifting awkwardly from broad comedy to mild romance to "A Star Is Born"-type drama. Balding, pudgy Verdone is not nearly as appealing as he obviously thinks himself to be and is unable to provide the charisma that might have helped us overlook the film's sloppiness.
Typical of the creative laziness on display is that the chief running gag involves the fact that Romeo's cigarette lighter never works, and a visual bit in which he cruelly imitates the deformed eye of one of Iris' co-workers is repeated ad infinitum. We are forced to endure several lengthy, painful musical numbers, and Miramax's heavy editing hands are apparent in the film's choppy continuity.
Still, Gerini is undeniably delectable, displaying acting chops as well as her lithe body. With the right vehicle to propel her, international stardom is a distinct possibility.
IRIS BLOND
Miramax
Director: Carlo Verdone
Story-screenplay: Francesca Marciano, Pasquale Plastino, Carlo Verdone
Producers: Vittorio & Rita Cecchi Gori
Executive producers: Bob Weinstein, Harvey Weinstein
Color/stereo
Cast:
Romeo Spera: Carlo Verdone
Iris Blond: Claudia Gerini
Marguerite: Andrea Ferreol
Vincenzo Cecere: Nello Mascia
Fortune Teller: Nuccia Fumo
Running time -- 100 minutes
MPAA rating: R...
The director, co-screenwriter and star of "Iris Blond" -- the title onscreen reads "I'm Crazy About Iris Blond" -- is comic actor Carlo Verdone, but suffice it to say he won't match Roberto Benigni in Stateside appeal.
The film, opening exclusively today at New York's Angelika Cinema, is a combination comedy-drama-romance, centering around not-too-aptly named Romeo Spera (Verdone), a former star turned lounge singer reduced to playing piano on cruise ships. A fortune teller informs him that his life will be changed by a foreign woman who speaks in verse, and Romeo believes the prophecy has been fulfilled when he teams with Marguerite (Andrea Ferreol), a middle-aged Belgian singer who specializes in the works of Jacques Brel. After moving with her to Brussels, he joins her in a musical act, but the professional and romantic partnership go nowhere fast.
Then Romeo meets comely Iris (Gerini), a feisty worker at the local fast-food restaurant. Discovering that she sings in a choir and writes verse in her spare time, the smitten Romeo proposes a musical partnership. She agrees, and Romeo soon moves in with her; unfortunately for him, Iris -- otherwise quite generous in her sexual deportment -- insists that the relationship remain platonic.
It isn't long before the duo, Iris Blond and the Freezer, begins to achieve success in local clubs with their brand of overblown pop music. (Strangely, Iris, immediately after hitting it big, dyes her hair auburn.) Romeo is by now hopelessly in love with his musical partner, and his feelings -- not to mention their growing professional division -- soon create trouble for their relationship.
Although not without its moments, "Iris Blond" seems hopelessly divided as to what it wants to be, shifting awkwardly from broad comedy to mild romance to "A Star Is Born"-type drama. Balding, pudgy Verdone is not nearly as appealing as he obviously thinks himself to be and is unable to provide the charisma that might have helped us overlook the film's sloppiness.
Typical of the creative laziness on display is that the chief running gag involves the fact that Romeo's cigarette lighter never works, and a visual bit in which he cruelly imitates the deformed eye of one of Iris' co-workers is repeated ad infinitum. We are forced to endure several lengthy, painful musical numbers, and Miramax's heavy editing hands are apparent in the film's choppy continuity.
Still, Gerini is undeniably delectable, displaying acting chops as well as her lithe body. With the right vehicle to propel her, international stardom is a distinct possibility.
IRIS BLOND
Miramax
Director: Carlo Verdone
Story-screenplay: Francesca Marciano, Pasquale Plastino, Carlo Verdone
Producers: Vittorio & Rita Cecchi Gori
Executive producers: Bob Weinstein, Harvey Weinstein
Color/stereo
Cast:
Romeo Spera: Carlo Verdone
Iris Blond: Claudia Gerini
Marguerite: Andrea Ferreol
Vincenzo Cecere: Nello Mascia
Fortune Teller: Nuccia Fumo
Running time -- 100 minutes
MPAA rating: R...
- 5/14/1999
- The Hollywood Reporter - Movie News
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